Relevant bibliographies by topics / Arabic music theory

Academic literature on the topic 'Arabic music theory'

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Published: 25 July 2024

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Journal articles on the topic "Arabic music theory"

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BARONTINI, MICHELE, and TITO M. TONIETTI. "ʿUMAR AL-KHAYYĀM’S CONTRIBUTION TO THE ARABIC MATHEMATICAL THEORY OF MUSIC." Arabic Sciences and Philosophy 20, no. 2 (August 26, 2010): 255–80. http://dx.doi.org/10.1017/s0957423910000032.

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AbstractWe here present the Arabic text, with an English translation, of certain pages dedicated by al-Khayyām to the mathematical theory of music. Our edition is based on a manuscript extant in a library in Manisa (Turkey), and corrects the mistakes found in another transcription. Lastly, we compare the theory of al-Khayyām with other Arabic theories of Music, and with those coming from other traditions.
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Lucas, Ann. "Inside Arabic Music: Arabic Maqam Performance and Theory in the 20th Century." Ethnomusicology 66, no. 1 (April 1, 2022): 189–91. http://dx.doi.org/10.5406/21567417.66.1.12.

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Mangialardi, Nicholas. "Inside Arabic Music: Arabic Maqam Performance and Theory in the 20th Century." Journal of American Folklore 134, no. 533 (July 1, 2021): 360–61. http://dx.doi.org/10.5406/jamerfolk.134.533.0360.

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Boulos, Issa. "Inside Arabic Music: Arabic Maqam Performance and Theory in the 20th Century. By Johnny Farraj and Sami Abu Shumays." Music and Letters 102, no. 1 (February 1, 2021): 171–72. http://dx.doi.org/10.1093/ml/gcab018.

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Al-Dabbagh, Abdulla. "The Oriental Sources of Courtly Love." International Journal of Arabic-English Studies 3, no. 1 (January 1, 2002): 21–32. http://dx.doi.org/10.33806/ijaes2000.3.1.2.

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This paper singles out three key theoretical, oriental perspectives on love that have been, to a greater or lesser degree, recognized by scholars as sources for western courtly love notions: Ibn Hazm's Tawq al-Hamama (The Dove's Neck Ring), Ibn Sina's Risala fi 'I- 'lshq (Treatise on Love), and the general Sufi outlook, particularly in the works of Ibn Al-Arabi and Rumi. While chivalry, the forms and features of Arabic music and Arabic poetry, Arabic poetic themes and specifically the expressions and concepts of love in poetry have long been studied as the. main Arab/Islamic contributions to courtly love, no detailed study of this relationship at the theoretical level has so far been done. Such a study, particularly of the ideas of thinkers like Ibn Sina , Ibn Al-Arabi, and Rumi will serve to illuminate not only western works explicitly devoted to the topic, but also a key trend in the western conception of love generally, as well as the whole genre of tragic romance in modern western literature. .
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Et.al, ZaharulLailiddinSaidon. "The Development and Evaluation of a Song Album as an Instructional Material for the Teaching and Learning of Basic Arabic Language in Malaysian Primary Schools." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 10, 2021): 370–80. http://dx.doi.org/10.17762/turcomat.v12i3.741.

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This article reports on a research project aimed at developing and evaluating a song album as an instructional material for the teaching and learning of basic Arabic language in Malaysian primary schools. Generally, the procedure for undertaking the research project could be divided into four different stages, namely (i) the gathering of ideas for the music arrangement for all the nine songs in the album; (ii) development of the song album; (iii) evaluation of the developed song album; and(iv) improvement and refinement of the song album. The results show that characteristics of suitable music arrangementfor the songs in the album are as follows: (i) modern music instruments combined with local and Arabic traditional music instruments so as to make the compositions more unique and interesting, (ii) the use of a variety of rhythmic styles;combining modern and traditional elements including middle east rhythm, (iii) employment of the combination of adult and children singers (iv) varied tempo with vibrant and energetic mood (v) take into account the possibility of combining singing of the songs with dance and movement activities. According to evaluation by the panel of experts, the songs in the albumareof good quality in both the aspects of singing and music arrangement. Meanwhile the results on the aspect of usability found that all of the songs in the album are attractive and suitable to be used as instructional material for the teaching and learning of basic Arabic language to year one pupils in Malaysian primary schools. The song album could facilitate Arabic language teachers to be more confident in carrying outsingingactivities in their classroom as outlined in the Year One Arabic language textbook published by the Ministry of Education. Consequently, by employing singing activities using the songs in the album could help to make their lessons more engaging, attractive and effective.
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Rasmussen, Anne K. "Theory and practice at the ‘Arabic org’: digital technology in contemporary Arab music performance." Popular Music 15, no. 3 (October 1996): 345–65. http://dx.doi.org/10.1017/s0261143000008321.

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The synthesizer is ubiquitous on the Arab–American musical scene. Heard at every party, and on every recording, the synthesizer sings the lingua franca of international popular music. While the facade and the body of the synthesizer consist of neutral, slick, black plastic and metal technology, the soul of the instrument, when played by Arab–American musicians, is capable of a completely indigenous, if synthetic, musical idiom. In this article I draw on my experience of six performers of the Arabic ‘org’, commonly known today as ‘keyboards’, to present a sketch of a modern musical tradition.
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RIJO LOPES DA CUNHA, MARIA M. "The Burda: Reweaving the Mantle, Renovating Arab Music Tradition between Egypt and the Arab Levant." Yearbook for Traditional Music 54, no. 2 (December 2022): 141–64. http://dx.doi.org/10.1017/ytm.2022.20.

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AbstractThis article critically considers how the musical piece, “Al-Burda,” has introduced ground-breaking formal and rhythmic innovations within Arab contemporary traditional music. I explore the centrality of Mustafa Said’s musical adaptation of Arabic prosody in generating new rhythmic modes whilst highlighting Said’s claims of continuity with an Arab literary and musical tradition through the musical adaptation of the poetics of mu’arada, which means building upon pre-existing models. This article draws upon postcolonial theory as a fundamental tool of analysis for the underpinning socio-political commentary present at every stage of creation and production of “Al-Burda.”
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Mahendra, Benny, Noor Cahaya, and Muhammad Najamudin. "Music Accompaniment Of Japin Carita South Kalimantan." Jurnal Seni Musik 10, no. 1 (June 30, 2021): 76–80. http://dx.doi.org/10.15294/jsm.v10i1.42883.

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This research was conducted due to the lack of public knowledge about the music accompaniment of Japin Carita from South Kalimantan. This research focused more on the theory and practice of music science regarding the music accompaniment of this local South Kalimantan theater. This research used naturalistic qualitative method because it was held in natural conditions (natural setting), this method is also called the ethnographic method. Data gathering techniques include; observation, interview, documentation. Data analysis techniques include data reduction, data presentation, and verification. Japin Carita is a traditional theater art from South Kalimantan which is derived from the art of Japin, a dance that originates from Arab. The word Japin in Arabic originating from the word zafin which means fast footwork, and just like the definition Japin dance movement is indeed prioritizing foot movements. The structure of musical forms that can be used as music accompaniment to Japin Carita are; Gasim, Takzim, Rawis, Melagu, Nyanyian, and Tahtim. Japin music in Japin Carita theater is not only for the opening music, but also when the actors enter and leave the stage, and for the closing music. Music illustrations depicting the atmosphere of a place or the mood of an actor, whether sad, afraid, anxious, happy and so on must also follow the rhythm of Japin music. Japin Carita musical instruments consist of baboons, gongs, violins, keprak, and gambus. The function of Japin music accompaniment includes entertainment media, communication media, symbolic tribute, physical responses, continuity media, cultural statistics, and atmosphere proponent of the Japin Carita play/ script.
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El-Shawan, Salwa, and Amnon Shiloah. "The Theory of Music in Arabic Writings (c. 900-1900): Descriptive Catalogue of Manuscripts in Libraries of Europe and the U. S. A." Yearbook for Traditional Music 17 (1985): 219. http://dx.doi.org/10.2307/768450.

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Dissertations / Theses on the topic "Arabic music theory"

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Khodier, Nesma Magdy VCUQ. "The Future of Arabic Music: No sound without silence." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4170.

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For centuries, Arabic music has been intrinsically linked to Arab culture and by extension bonded to the environmental landscape of the region, reflecting their emotions, moods, and behaviors. Numerous technological advancements in the latter half of the twentieth century, have greatly affected the rich legacy of Arabic music, significantly impacting the natural progression of traditional Arabic musical genres, scales, and instrumentation. This thesis serves as an introduction to generative methods of music production, specifically music generated through gestures. Through generative music, and its unique ability to map gestures to different musical parameters, music can be produced using computer algorithms. The outcome of this thesis aims to demystify the intricacies of recent technological advancements to enable the musician and the audience to incorporate responsive technology into their ensembles. This approach aims to further evolve Arabic music, using the concepts of Arabic music creativity while addressing international accessibility through integration. The intention of this thesis is to bridge between the contemporary and the traditional Arabic audiences and provides insight into a possible future of Arabic music based on its own fundamental principles.
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Books on the topic "Arabic music theory"

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Cameron, Powers, ed. Arabic musical scales: Basic maqam teachings. Boulder, Colo: G.L. Designs, 2005.

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Powers, Cameron. Arabic musical scales: Basic maqam teachings. Boulder, Colo: G.L. Designs, 2005.

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Fārābī. Kitāb al-Mūsīqī al-kabīr. Frānkfūrt, Jumhūrīyat Almāniyā al-Ittiḥādīyah: Maʻhad Tārīkh al-ʻUlūm al-ʻArabīyah wa-al-Islāmīyah fī iṭār Jāmiʻat Frānkfūrt, 1998.

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Amīr, Sālim Ḥusayn. Dalīl salālim al-maqāmāt al-ʻArabīyah. Aʻẓamīyah, Baghdād, al-ʻIrāq: Dār al-Shuʼūn al-Thaqāfīyah al-ʻĀmmah, Wizārat al-Thaqāfah wa-al-Iʻlām, 1986.

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Shiloah, Amnon. The theory of music in Arabic writings (c. 900-1900): Descriptive catalogue of manuscripts in libraries of Egypt, Israel, Morocco, Russia, Tunisia, Uzbekistan, and supplement to B X. München: G. Henle Verlag, 2003.

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Mathiesen, Thomas J. Ancient Greek music theory: A catalogue raisonné of manuscripts. München: G. Henle Verlag, 1988.

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Ibn al-Nadīm al-Mawṣilī, Isḥāq ibn Ibrāhīm, 771 or 2-849 or 50, Abū al-Faraj al-Iṣbahānī, 897 or 8-967, Ibn Khurradādhbih, ʻUbayd Allāh ibn ʻAbd Allāh, ca. 820-ca. 912, Baṭalyawsī, ʻAbd Allāh ibn Muḥammad, 1052 or 3-1127, Kindī d. ca 873, and Fārābī, eds. Rhythmic theories and practices in Arabic writings to 339 AH/950 CE: Annotated translations and commentaries. Ottawa: Institute of Mediaeval Music, 2009.

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1927-1998, Śarmā Premalatā, Nalini Françoise Delvoye, and ITC Sangeet Research Academy (Calcutta, India), eds. Nūr-ratnākar: A bio-bibliographical survey, and techno-historical study, of all available important writings in Arabic, Persian, Sanskrit, and other allied languages on the subject of song, dance, and drama. Kolkata: ITC Sangeet Research Academy, 2003.

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La métaphore dans la poésie de Baudelaire. Tunis: Faculté des sciences humaines et sociales, 1997.

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Kassab-Charfi, Samia. La métaphore dans la poésie de Baudelaire. Tunis: Faculté des sciences humaines et sociales de Tunis, 1997.

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Book chapters on the topic "Arabic music theory"

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Rioli, Maria Chiara, and Riccardo Castagnetti. "Sound Power: Musical Diplomacy Within the Franciscan Custody in Mandate Jerusalem." In European Cultural Diplomacy and Arab Christians in Palestine, 1918–1948, 79–104. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55540-5_5.

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AbstractAlthough often underestimated or barely quoted by historical studies, music plays a crucial role in the cultural agenda of Church institutions and missionary congregations. Among the Catholic actors, the Franciscan Custody of the Holy Land was a central one connecting two of their main goals: evangelisation and education. These two tasks were strictly linked: music was a central element in the liturgies celebrated in the parishes and in the Holy Places and at the same time a pedagogical tool, taught in the schools ruled by the Friars. Music reveals also the complex process of encounter of Palestinian and Western patterns in modern Palestine. In this way the music sung and taught in the St Saviour also contributed to shape the soundscape of Jerusalem. The chapter discusses various sources related to Augustine Lama, at that time the director of the schola cantorum of St Saviour.
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Blum, Stephen. "Meter and Rhythm in the Sung Poetry of Iranian Khorasan." In Thought and Play in Musical Rhythm, 75–99. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190841485.003.0004.

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The rhythmic theory developed by al-Fārābī remains relevant to the analysis of sung poetry in the contemporary Middle East, not least with respect to the question of how duration comes to be determined and the conception of verse as a constituent of melody (Arabic laḥn) in the fullest sense. This chapter reviews some of Fārābī’s concepts in relation to Christopher Hasty’s discussion of projective potential. Analysis of eight examples of sung verse in Persian and Khorasani Turkish focuses on coordination of tunes with rhythmic cycles associated with different types of poetic meter. I argue that the best analytical work on Persian traditional music, notably that of Dariush Talā’i, provides an excellent foundation for studies of Iran’s regional musics.
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Wenz, Clara. "“I Say She Is a Muṭriba”." In The Oxford Handbook of Jewish Music Studies, 614–34. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197528624.013.22.

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Abstract Focusing on the Syrian city of Aleppo, this chapter discusses the ethno-historical memory of the Khūjahs, local women musicians who performed songs in Arabic and whose primary performance context was Muslim women wedding celebrations. Though many of Aleppo’s Khūjahs were Jewish throughout the past century, their history is largely missing from official records. Examining the different reasons for this absence—from a history of national conflict, approaches within existing scholarship, to moral concerns over women’s public music making—reveals how the memory of Aleppo’s Jewish Khūjahs nevertheless endures in the personal accounts of their descendants and constituencies. By associating the Khūjahs with a musical community known in Arabic as the ahl al-ṭarab, these memories expose forms of musical belonging that challenge the often-drawn distinction between “male” and “female,” “Arab” or “Muslim” and “Jewish,” as well as “folkloric” and “classical” musical practices.
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Potter, Simon J. "Programmes, Soft Power, and Public Diplomacy." In The Wireless World, 167—C6.P48. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192864987.003.0006.

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Abstract This chapter examines the programmes produced by international broadcasters for distant listeners. It relates these to ideas about persuasion, propaganda, soft power, and public diplomacy. It examines news broadcasting, but focuses on the other content carried by international radio services, notably music, ‘media events’, technically complex international relays, and user generated content. It looks at the schedules of early international broadcasters including the BBC and Germany’s Zeesen station, and also at Radio Bari. It assesses the use of soap opera by the BBC during the Second World War, and rock ’n’ roll music by Western broadcasters during the Cold War. It considers who was able to speak on-air, and who was not, paying particular attention to the attempts of international broadcasters to harness a diverse range of voices to their purposes. Case studies examine dramatic and literary programming on the BBC Arabic Service, and Eddy Startz’s Happy Station show.
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Fürst, Juliane. "Kaif." In Flowers Through Concrete, 229–89. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198788324.003.0007.

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The elusive feeling of kaif was at the heart of the hippie experience—much more than ideology or belief. Kaif was borrowed from the Arabic term keif, which denotes the pleasurable state of mind that is granted to rightful Muslims in paradise. The term kaif meant altering one’s state of mind and entering a new world. Kaif was first and foremost a state of being high—even though not all hippies achieved this high through drugs, but lost themselves in music, sex, spirituality, or simply community. The sistema was all about kaif and it was masterful in creating the conditions in which kaif was experienced. This chapter will look at various routes to how kaif was achieved and what achieving kaif meant for hippie identity and their relationship to the Soviet habitat in which they lived.
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Boum, Aomar. "Unmuted Sounds: Jewish Musical Echoes in Twenty-first Century Moroccan and Israeli Soundscapes." In Jewish-Muslim Interactions, 181–200. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621334.003.0010.

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This chapter explains how Jewish music reflects the Moroccan and Israeli soundscapes amidst the twenty-first century. It recognizes the increasing momentum of an anti-normalization movement in relation to North African Jews in Israel, which resulted in the criminalization of Moroccan visitors to the Jewish state. Moroccan Judaism's different aspects such as cultural events and conferences became central to the restoration of synagogues, conservation of cemeteries, and renovations of mellahs. Moreover, Moroccan Jews attempt to claim their Andalusian historical heritage through music in the context of political and public spheres. On the other hand, most modern rappers portray the majority of Jews as the Israeli enemies of Palestinians and Arabs.
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Yaraman, Sevin Huriye. "In the Beginning There Was Sound." In Arvo Pärt, 232–42. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.003.0014.

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This paper approaches Arvo Pärt’s tintinnabuli concept as a point of entry into the unity of two seemingly oppositional states that ground human existence and underline the theology of Sufism: separation from God in longing and union with God in joy. Drawing on wide range of primary sources by classical theologians and Islamic mystics such as Ibn al-Arabi, Abu Hamid Al-Ghazali, and Abu Talib al Makki, this paper seeks to locate the theory of longing, the significance of hearing, and, ultimately, the meaning of music in Islamic mysticism. Finally, this chapter identifies a fundamental convergence between the expression of longing in Sufi poetry exemplified by Yunus Emre’s works and Arvo Pärt’s tintinnabuli technique, illuminating a closeness between the theological traditions of Orthodox Christianity and Islam.
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Jordan, Daniel David. "Mementos of al-Andalus in Colonial Morocco." In Coros y Danzas, 64—C3F4. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197586518.003.0004.

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Abstract After a summary of the Sección Femenina’s activities abroad, Chapter 3 turns its focus to the organization’s tours and educational programs within European-controlled Morocco. Between 1951 and 1953, the Sección Femenina’s troupes of Coros y Danzas (Choruses and Dances) performed for Muslim civilians and politicians throughout the Spanish Protectorate, French Protectorate, and the Tangier International Zone. Meanwhile, the Sección Femenina organized choirs of Muslims and Catholics in Tétouan, Tangier, Ceuta, and Melilla that juxtaposed Arabic folk songs with villancicos (religious carols). Throughout their work in Morocco, instructoras remodeled their repertoire and traditional costumes to emphasize Southern Spain’s allegedly lingering cultural ties to North Africa and the Middle East. This change in the Sección Femenina’s representation of Spanish music was accompanied by a change in the organization’s representation of Spanish history. Within Spain, the Sección Femenina associated itself with Queen Isabella “the Catholic” and the “heroes” of the Reconquista who purged the peninsula of the “impurities” of Moorish civilization; however, in the Spanish Protectorate, the ancient Moors were celebrated as a cultural bridge between Spain and Morocco, and Spaniards were portrayed as the cultural heirs of medieval al-Andalus. During a time of political unrest and movements for Moroccan independence, these activities were intended to promote narratives of a Moroccan-Spanish brotherhood based on myths of medieval Muslim Iberia.
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Conference papers on the topic "Arabic music theory"

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Kohl, Marie-Anne. "Die weinende Jury. »Geschlechtslose« Tränen bei globalen Musik-Castingshows?" In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.59.

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Tears are flowing. Whether Yvonne Catterfeld, Kazim as-Sahir, Unati Msenga-na, Liu Huan, Simon Cowell or Lira – they are all part of a jury of global music casting show formats such as The Voice, Idol or Got Talent and show their tears in front of the camera, seemingly ashamed and yet completely uninhibited. Their tears flow in reaction to ‘particularly soulful’ music titles or to the candidates’ tragic personal stories, paired with the ‘right’ song selection. The display of great emotions is an essential element of reality TV formats. With Sara Ahmed, they can be understood in the sense of an ‘affective economy’ as an effect of their circulation, their staging as a specific ‘emotional style’ of dealing with emotions (Eva Illouz). The circulation of affects in casting shows is a global one, since the formats, developed in Europe, have produced local versions in over 60 countries worldwide. Emotions play an important role in the successful localization of the formats and define a complex area of conflict between a sensitization to socio-cultural characteristics and the ‘reproduction of culturalistic concepts’ (Laura Sūna) or clichés. In European cultural history, tears have developed a special significance as guarantors of the authenticity of empathy (Sigrid Weigel), and are generally associated with femininity, however at the same time have been film-historically recoded as ‘gender-neutral’ (Renate Möhrmann). Keeping in mind that all these casting show formats have been exported from Europe, these observations are of special interest, especially since one can see men and women crying equally in the Arabic, German or South African versions of e. g. The Voice. This article questions the concurrence of musical performance, display of tears, gender performance and the translocal dramaturgy of music casting shows.
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